Wilson’s ‘moby dick’ – a descent into obsession, reimagined

Robert Wilson’s final, sprawling production of Melville’s ‘Moby-Dick’ isn’t a straightforward adaptation; it’s a visceral plunge into the captain’s madness, a collision of sound and light, and a profoundly unsettling experience.

A stage transformed into the sea

The Brooklyn Academy of Music (BAM) has been reimagined as a churning, claustrophobic ocean, thanks to Wilson’s signature use of bands of light and the demanding physicality of its performers. Anna Calvi’s haunting suite of songs, interwoven throughout the production, provides a jarring, glamorous counterpoint to the bleakness of Ahab’s quest.

David Byrne, a longtime admirer of Wilson's work with Tom Waits, initially connected Calvi with the legendary director, urging her to “go down the rabbit hole.” And Wilson, it seems, delivered on that promise in spades. ‘It’s not about telling you what Moby Dick is,’ Davis explained, ‘but giving you a lens to discover it for yourself.’

The production eschews much of Melville’s dense prose, instead building a language of sea shanties and fragmented dialogue – a series of ‘little cabins’ packed with detail about sailors, their lives, and the sheer terror of the open sea. Wilson’s insistence on a singular visual vocabulary, honed over decades, remains powerfully evident, creating an immersive world that demands the audience’s complete attention.

Amy Cassello, BAM’s artist director and a long-time collaborator, described Wilson’s approach as “an elegance, a specificity of color and of light.” She traveled to Düsseldorf with Helga Davis to witness the initial presentation and was “spellbound,” highlighting the meticulous attention to detail that characterized Wilson's work. “It’s better to sail with a moody good captain than a laughing bad one,” she noted, referencing Ahab’s famously erratic leadership.

But amidst the darkness and the obsession, there are moments of surprising tenderness, particularly in the opening scene where Ishmael and Queequeg grasp hands, establishing an intimacy that transcends their differences. Calvi herself admitted to being “rolled around on the floor” during a casting session, embracing Wilson’s demanding, yet ultimately rewarding, creative process. The show’s brevity—a surprising departure from Wilson’s usual multi-week productions—only amplifies its emotional impact.

Ultimately, ‘Moby Dick’ isn’t just a theatrical interpretation; it's a reminder of the enduring power of obsession, the cost of ambition, and the strange beauty found in the face of inevitable loss. Wilson’s final act is a testament to a career dedicated to challenging and captivating audiences – a final, unforgettable descent into the depths.”n